Out of Sight

Scott Frank, Elmore Lenord

Description

by Scott Frank & Elmore Lenord

Sujets

• Comedy
• Crime
• Dráma
• Romance
• Thriller

Informations

• Publié par: script-cinema
• Nombre de lectures: 1
• Licence : En savoir +
  Paternité, pas d'utilisation commerciale, partage des conditions initiales à l'identique
• Langue: English

Extrait



"

OUT OF SIGHT"

by Scott Frank



from the novel by  Elmore Leonard

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White Final: 08/05/97  Blue Revised: 09/17/97  Pink Revised: 11/11/97  Green Revised: 12/15/97  Goldenrod Revised: 12/16/97  Buff Revised: 03/17/98  Salmon Revised: 03/23/98

Converted to pdf by Nas 

Ahmed

   

BLACK We hear TRAFFIC, some STREET NOISES, then... 



FADE IN: A MIAMI STREET  DAY The financial district. Lots of people in suits. A shaky, spasmodic ZOOM IN finds...  JACK FOLEY  forty, big, focused expression  as he rips a tie from around his neck and throws it down in the gutter. He starts across the street, now peeling off his suit coat and dropping that, too, right there on the asphalt as we then...  WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET As Foley goes inside, we then... CUT TO: A PRINTED BROCHURE THAT READS... LOOKING FOR MONEY? YOU'VE COME TO THE RIGHT PLACE. We then PULL BACK TO REVEAL that we're now...  INSIDE THE BANK as Foley stands at a counter holding the above CREDIT APPLICATION while he studies the bank layout. Foley watches a MAN IN A SUIT, carrying an attachecase, enter the bank and move through the gate into the fencedoff business area at the front. An EXECUTIVE rises from his  desk, shakes hands with the man and they both sit down. Foley tosses the brochure in the trash, then crosses to a teller window where a nameplate on the counter tells us the  young woman with the pile of dark hair smiling at him is LORETTA. TELLER/LORETTA How can I help you, sir? FOLEY Loretta, you see that guy talking to your manager, has his case open?   Foley takes out a ZIPPO LIGHTER and casually, yet expertly, begins to fiddle with it as the teller looks across the bank. LORETTA  That's Mr. Guindon, one of our assistant managers. Our manager is Mr. Schoen, but he's not in today.



FOLEY But you see the guy with the  attachecase? LORETTA (looks again) Yes.

FOLEY That's my partner. He has a gun in there. And if you don't do exactly what I tell you, or you give me any kind of a problem, I'll look over at my partner and he'll shoot your Mr. Guindon between the eyes.

Loretta goes stiff, swallows, stares back at Foley.

FOLEY (CONT'D) Now take one of those big envelopes and put as many hundreds, fifties and twenties as you can pack into it. Nothing with bank straps or rubber bands. I don't want any dye packs. I don't want any bait money. Start with the second drawer and then the one over there, under the computer. Come on, Loretta, the key's right there next to you. No bills off the bottom of the drawer. (as she works) First time being robbed? (she nods) You're doing great. Just smile, Loretta, so you won't look like you're being held up. (she smiles awkwardly) That's the way, you're doing fine.

2.

We hear a bit of thunder and Foley cuts a fast look out the front door. When he turns back, he sees that Loretta’s having some trouble fitting all the bills into the envelope.

FOLEY (CONT'D) Here, give me the twenties. I'll put 'em in my pocket. Okay, I haven't had to give my partner a sign; that's good. Now, he's gonna wait thirty seconds till after I'm out the door, make sure you haven't set off the alarm. If you have, he's gonna shoot Mr. Guindon between the eyes. Okay? I think that'll do it. Thank you, Loretta, and have a nice day.

LORETTA You, too.

3.

Foley heads for the door. He pauses by Mr. Guindon's desk, looks back at Loretta. Foley smiles at her, then turns to the Man sitting with Mr. Guindon, indicates Loretta...

FOLEY She's cute, isn't she?

The man looks across the bank at Loretta.

MAN Uh, yeah, I guess so.

Foley winks at Loretta and walks out.

MAN (CONT'D) (to Mr. Guindon) Who was that?

EXT. BANK  SAME

As Foley comes out, he calmly walks to a Honda Civic and gets in.

INT. CAR  SAME

As Foley tries to start the car. No go. He tries again.

FOLEY Come on...

But the car won't start. Foley bangs on the wheel...

Fuck!

FOLEY (CONT'D)

Foley then stiffens as a cop sticks his gun through the open window into Foley's ear...

COP I think you flooded it.

Foley looks to the passenger window, where ANOTHER COP, smiling, now has his gun pointing at him.

SECOND COP Get out've the car, sir.

FOLEY Wanna hear a funny story?

SECOND COP Shut up and get out've the car.

And as Foley obliges, we then...

4.

FADE TO WHITE.

We hear a MAN GRUNT. Then see Foley in SLOW MOTION as he jumps through frame, now we see a basketball come up in his hand as we realize he's on his way to the rim when...

...ANOTHER GUY rams into him in midair, knocks him down.

EXT. PRISON YARD  DAY

A BASKETBALL GAME in progress. All of the men, Foley included, are dressed in blue coveralls and white Tshirts. The game is rough. Hair is pulled. Eyes are poked. Faces punched.

A title reads: “GLADES CORRECTIONAL INSTITUTION. BELLE GLADE, FLORIDA.”

Foley is the oldest player here. He’s getting tired, starts to lose his breath. He finally walks off the court, breathing so hard he can't even talk. He simply motions to SOME YOUNG CONVICT to come in and take his place.

Foley sits down on a bench, tries to catch his breath. He looks across the yard to where...

A GROUP OF ELDERLY INMATES

sitting around a wooden picnic table are playing cards. All of them are over sixty. One of them, a onelegged guy on crutches hops away from the table, spits out some tobacco as we...

INTERCUT THE OLD TIMERS WITH FOLEY WATCHING THEM:

As we see one old guy is making a picture frame out of old Pal Mal and Lucky Strike packs. Another tends to a tomato bush in a tiny patch of garden near the wall. Another one sits nearby painting a picture of a man and a boy fishing from a rowboat.

Foley is about to get up off the bench when something catches his eye. He watches as...

TWO LATINO MEN

both little guys, jog past the game, slow to a walk, then stop and begin stretching out. One of them nods to Foley. Foley nods back, waits for the Latin guys to walk off, then walks over to a guard, PUPKO ("PUP"), heavyset, dumb as dirt.

PUP You want something, Foley?

Foley keeps his eyes fixed on the basketball game. FOLEY Some people are going out of here. What if I told you where and when? PUP How many?

FOLEY I expect you to look out for me, Pup, let me run off work details.

PUP Okay. How many going out?

FOLEY I hear six.

When?

PUP

FOLEY Looks like tonight.

PUP You know who they are?

FOLEY I do, but I won't tell you just yet. Meet me in the chapel at eight thirty, right before lockdown.

INT. MESS HALL  LUNCH

5.

As Foley takes his tray up the centre aisle, he scans the sea of white Tshirts until he sees the two little Latins sitting at a table full of other little Latins. CHINO  fifties, in shape  shovels macaroni in his mouth.

Chino's "wife", LULU, nineteen, looks up from his own neat tray of macaroni and jello and watches Foley walk past and sit down with a bunch of bikers.

Foley watches as the guy across from Chino scrapes some macaroni off his plate and on to Chino's and Chino wolfs that down, too.

EXT. MESS  DAY

Chino steps outside and lights a cigarette. He puts an arm around Lulu, starts to walk off...

FOLEY (OS) Today's the day, huh?

6.

Chino looks over, watches Foley approach, lets his arm slip down so he can hook his thumb into Lulu’s belt... the next thing to having him on a leash.



FOLEY You excited?

CHINO I told you, man, Super Bowl Sunday.

FOLEY Yeah, but I see you moved it up.

CHINO (beat) Why you think is today?

FOLEY You were out running this morning, sticking to your routine, anybody happened to notice. But you only did a couple of miles instead of your usual five. Saving yourself for the main event. Then I see you inside eating ten pounds of macaroni. Carbohydrates for endurance.

Chino and Lulu exchange looks.

CHINO You want, I tole you you can come. You all right, Foley. I like you.

FOLEY You told me I can come 'cause I caught you digging the fuckin' tunnel, saw you and Lulu coming out of the bushes, thought maybe you two were making out.

Foley smiles at Lulu, who glares back at him.

FOLEY (CONT'D) So what, you finish ahead of schedule?

Chino looks towards the fence along the front yard.

CHINO You see what they doing, those posts out there? Putting up another fence, five metres on the other side of the one that's there.

CHINO(cont'd) We wait until Super Bowl Sunday, they could have the second fence built and we have to dig another nine, ten days. So we going soon as it's dark. You want  I mean it  you can still come.

FOLEY I appreciate the offer. And it's tempting.

7.

Foley looks off towards the visitors' parking area, the fence not twenty yards away.

FOLEY (CONT'D) But, man, it's a long run to civilization. A hundred miles to Miami? I'm too old to start acting crazy, try a stunt like that. You make it out, send me a postcard.

CUT TO: A NOTEPAD

where we see someone has written "IT'S MAGIC!" then crossed out the "IT'S" and replaced it with the word "LIKE". We hear THE PHONE RING AND...

REVEAL: INT. ADELE'S APARTMENT  DAY

Miami Beach Moderne. ADELE  midthirties, pretty, Foley's ex  sits at her kitchen table writing on a pad. She grabs the phone.

ADELE Hello? (then, sighs) Yeah, I accept.

INT. PRISON HALLWAY  DAY

Foley on the phone...

FOLEY'S VOICE Hey, Adele, how you doing?

INTERCUTTING FOLEY & ADELE:

ADELE Hey, Bank Robber, want some advice? Next time, leave the engine running.

FOLEY That's funny, Adele. How many more times you gonna gimme that one?

ADELE Till it's not funny any more. What do you want, Jack?

FOLEY You know that Super Bowl party? They changed the date. It's on tonight, eightthirty.

ADELE Didn't you tell me onetime calls aren't monitored?

FOLEY I said not as a rule.

ADELE So why don't you come right out and tell me what you're talking about?

FOLEY Listen to Miss Smarty Mouth. Out there in the free world.

ADELE What's free about it? I'm looking for work.

FOLEY What happened to Mandrake the Magician?

ADELE Emil the Amazing. The bastard fired me and hired another girl, a redhead. I'm working on a new business card, pass out to the cafes. How's this sound

FOLEY (cuts her off) Listen, Adele, the reason I called, that party is today instead of Sunday. About eightthirty, like only a few hours from now. So you'll have to get hold of Buddy, whatever he might be doing...

ADELE And the one driving the other car?

FOLEY What're you talking about?

8.

ADELE Well, seeing as you have so much luck with cars, Buddy thought it might be better to bring two. He got this guy he says you know from Lompoc, Glenn something.

FOLEY Glenn Michaels.

ADELE Yeah, that's him. Buddy says Glenn thinks you guys are real cool.

FOLEY He did, huh. Well, tell Buddy I see Glenn wearing his sunglasses I'll step on 'em. I might not even take 'em off first.

INT. RESTAURANT  DAY

9.

As MARSHALL SISCO  fifty  slides a small wrapped box across a table...

MARSHALL Happy birthday.

...to where KAREN SISCO  twentyeight, black suit, long hair, a knockout  sits. She picks up the box and shakes  it.

KAREN You fit another Chanel suit in here?

MARSHALL Something better. Open it.

Karen starts to carefully unwrap the present. Marshall watches, takes a sip of his drink, looks around the bar, sees how everyone's looking at the two of them...

KAREN (opens the box) Oh my God...

She pulls a gleaming automatic pistol from the box...

KAREN (CONT'D) It's beautiful.

It's a 

MARSHALL

KAREN SigSauer .38. I love it. She leans across the table and kisses him. KAREN (CONT'D) Thanks, Dad.

MARSHALL Happy birthday, kid. (then) You want another Coke? KAREN (checks her watch) Can't. I gotta drive out to Glades, then I'm meeting Ray Nicolet at ten. MARSHALL Which one is that? The ATF guy? KAREN He was. Ray's with the F.B.I. now, he switched over. MARSHALL He's still married though, huh? KAREN Technically. They're separated. MARSHALL Oh, he's moved out? KAREN He's about to. MARSHALL Then they're not separated, are they? KAREN Can we change the subject?

MARSHALL What're you doing at Glades?

KAREN Serving process, a Summons and Complaint. Some con doing mandatory life doesn't like macaroni and cheese. He files suit, says he has no choice in what they serve and it violates his civil rights.

10.